The Relationship Between Form and Content in Alberto Burri\u2019s Works


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KAPLANOĞLU L. , GÜNGÖR A.

IBAD Sosyal Bilimler Dergisi, vol.6, no.11, pp.506-522, 2021 (Refereed Journals of Other Institutions)

  • Publication Type: Article / Article
  • Volume: 6 Issue: 11
  • Publication Date: 2021
  • Doi Number: 10.21733/ibad.990121
  • Journal Name: IBAD Sosyal Bilimler Dergisi
  • Journal Indexes: Index Copernicus
  • Page Numbers: pp.506-522

Abstract

Figurative, abstract, and abstraction, which manifested itself in Italy in the late 1940s, has used the aniconic (nondepictive) language of expression in artistic perspectives. The dynamism experienced in the art movements after 1945 enabled the enrichment of material possibilities by revealing the artistic subjectivity and the enrichment of the relationship between form and content by using waste objects as a means of expression. Using the postmodern language of expression, Italian artist Alberto Burri developed innovative techniques in terms of form and content with the materials he chooses. This study aims to explain the relationship between form and content in Burri's work. Contributing to the development of the Western painting tradition by conceptualizing collage, Burri deals with the trauma of recent history with his different approaches and montages to manipulate everyday materials; II. By making the receivers feel the devastated situation, damage, repair and vulnerability to the situation after the World War II, it leaves their concentration alone with the contents that they have hidden in the spirit of the forms and directs them to internal reckoning. Burri opens a window into the world of human existence with his materials; while showing the tragedies, wounds, and unhappiness of people by going into the depths of the human, he also gives the message that happiness will reemerge. In his works, with his fictional understanding imitating nature, he questions the concept of art, relates his artistic practice to life, and reveals the reality of life with his art.